CAMEL

Camel's self-titled debut album released in 1973 was a huge disappointment. Only 5000 copies were sold and MCA didn't want to release a second album by the band but Decca signed them so the band went in 1974 to the Basing Street Studios in London to record their second studio album "Mirage".

According to guitarist Andrew Latimer the band made a huge step forward compared to their debut. The band wrote all the songs as team and also the interaction became better between him, organist Peter Bardens, bassist Doug Ferguson and drummer Andy Ward. Producer David Hitchcock convinced them to record the multi part song "Nimrodel/The Procession/The White Rider", which was inspired by J.R.R. Tolkiens "Lord of the Rings. The band liked the songs and decided to record another epic song, the final "Lady Fantasy". These two songs surely are the highlights of a really great progressive rock album. "Mirage" is in my opinion one of the best progressive rock albums ever released. The instrumental dominated "Mirage" really showcases four musicians, who all are master of their instruments and are able to create sensational music. And the band indeed made a big progress from their first album. The long compositions don't get boring even with a running time from over 9 minutes and the addition of the flute, which wasn't used for their first album fits to the progressive sound and makes it richer.

"Mirage" really is a strong release without any weak moment. It took me some time to really get into the album, but after hearing it 10 times I realized that this is one of the all time best progressive rock albums.

Imbued with a deep melancholy, either transmitted by the guitar and voice of Latimer.

Not easy to acquire a taste quickly without understanding the sensitivity of the songs they want to convey. The musical spectrum is broad, but can look drab or monotonous if not given due attention to the music and its edges. Or it may seem that some sections are too long.

For my part, from the first sounds of Three Wishes, entry into a captivating personal journey. To listen with all senses alert. Rajaz and Lawrence stand a little above the rest for me.

Songs that may seem 'simple' or less interesting as Shout to the Top or Lost and Found, also contain the necessary ingredients that good progressive rock requires.

A masterpiece by taking into account the composition, expression and feeling that is transmitted and displayed.

Camel's third record "Music inspired by The Snow Goose" from 1975 has grown deeper and deeper in my musical mind and at last it gains recognition. It is a long lasting and very intelligent instrumental record that frees the thoughts and explores new worlds. This record should be played as a unite and preferably as a vinyl so you get the right feeling. The music is not unduly advanced but contains all what I want to create a masterpiece of symphonic music. I admire this rock band for doing such brave music, because this is hardly pure rock but unbeatably music. Camel's music is soft and perhaps less skew than other prog rock, but not less fay. As I claimed this should be enjoyed as a full record but if you want a snapshot the songs: "Rhayader", "Migration" and any other could be enjoyed for their own. This powerful record was done by only five musicians: Andy Ward on drums, percussion and vibes, Doug Ferguson on bass and duffle coat, Peter Bardens on organ, minimoog, piano, electric piano, pipe organ and ARP Odyssey and Andy Latimer on electric, acoustic and slide guitars and flute.

This is music we have to keep to the future ears and suggest for newer listeners. I would compare it to Mike Oldfield's Tubular Bells as a very melodical instrumental record with giant intentions. As a conclusion this is a record which lovers of the 70s prog sound and symphonic admirers should listen to. I also think this could be liked by not initiates in prog rock. This is very essential. First I gave it four stars but actually anything but five would be a crime!

The quintessential progressive rock album.

Though there are many progressive rock albums more masterful and innovative than "Mirage", I think that it's safe to say that this album is the definitive progressive rock album.

"Mirage" is a classic progressive album with some incredible musicianship that has inspired many artists, including Mark Knopfler (as seen in the guitar melody at the beginning of "Lady Fantasy") and less notably David Gilmour. The album contains some great riffs and melodies, and has a nice vibe of mysticism. What never fails to impress me on listening to this album, is the way it builds an atmosphere with every song.

Here is a review of each of the five tracks.

"Freefall" is a classic Camel track, fast paced and exciting. The song kicks in with a chilled out groove that is set to make even the straightest of souls kick back and grove along. "Supertwister" is one of the greatest flute jams of the 70s. The flute melody speaks just beautifully and seems to tell a story. Very catchy instrumental.

"Nimrodel / The Procession / The White Rider" is a homage to J. R. R. Tolkien's "Lord of the Rings" and it is just incredible. The musical atmosphere here is spectacular, and it never fails to sweep me into the Tolkien-esque landscape of flute, organs, and the sweeping guitar tone that gives this piece of music such a rounded finish.

"Earthrise" is probably my least favourite track on the album, but it is by no means a "skip track". The song is a fast paced instrumental that is mainly mellotron and guitar dominated. There are some very nice melodies here.

"Lady Fantasy" is the best known Camel song, and for good reason. The guitar melody has a very Mark Knopfler feel.Though I think that the song is inferior to track 3, it is a very nice track and is probably the definitive 70s prog track.

The musicianship in this album is just superb, and though the album sounds quite 70s, it has dated very well. I highly recommend the CD remaster of this album. It is a reasonable price, beautiful sound quality, and though I generally object to bonus tracks, the live recordings on this disc are quite listenable.

I recommend this album as Camel's greatest work, and as an introduction to progressive rock.

☮ Peace! ☮

Another unique Camel album, full of a nostalgic Irish spirit by lyrics, and brilliantly reflected in the music. About the artistic quality of Latimer as a guitarist, I have no words to tell. Every sound that comes out of his guitar is appropriate, never sounds shrill or out of time or place. The same applies to the parts of flute, though brief here.

It is a quiet work, mostly smooth, but never dull or simplistic. As always highlights the work of Colin Bass in bass guitar, and vocals. Mickey Simmonds also makes a strong collaboration. And orchestrated parts are timely, and add feeling and strength to the pieces.

The strongest songs are Watching the Bobbins and Coming of Age. Are also excellent Harbour of Tears, Send Home the Slates, and the beautiful Eyes of Ireland; mostly acoustic songs. Running From Paradise and The Hour Candle are also recommended.

Nothing is out of place in this masterpiece.

For those who are not familiar with Camel's repertoire, The Single Factor is definitely not the proper album to start with. But still this is not so bad album if one has in mind the existing musical trends in the early eighties, but also the circumstances in which the album was made. Andy Latimer was practically without the band, he was not in the mood of making another studio album, but due to the contract with the Decca record he was obliged to do it. The result was a collection of short individual tracks, an album which mostly resembles their 1979 studio effort I Can See Your House From Here, with almost no progressive content in it, but still with some nice songs such as Camelogue, A Heart's Desire/End Peace and Lullaby. There are too many pop-rock elements in this album, but Camel still managed to preserve its basic profile and integrity.

Departing the strictly instrumental approach they used on their previous work, The Snow Goose, Camel return with vocals and more conventional songs for Moonmadness, their fourth studio album. While Moonmadness is the last record to feature the band's original lineup, if there was any tension between bandmates at the time it's certainly not evident in the music; this album is one of Camel's strongest releases, and captures the band in their prime.

The music here is fantastic, and really showcases Latimer and Bardens' songwriting capabilities. One of Camel's best elements has always been their ability to create sublime melodies, and fortunately this release has no shortage of them. While vocals are present on the majority of the tracks, instrumental sections are still abundant and are the focus of a great deal of the record. Most of the album is very atmospheric and conveys a rather mellow, spacey feel that perfectly compliments the songwriting style. That said, if you're looking for heavier material you may want to steer clear of this one.

In addition to great songwriting, the entire band is in top form here. As is usual with early Camel, the interaction between Barden's keys and Latimer's guitar is fantastic. On top of providing melodies and chordal accompaniment, both players also perform some extraordinary solos (Latimer's fiery solo over a driving 5/8 rhythm in "Lunar Sea", in particular, is amazing). Latimer's flute playing also returns on this release, and his lines on pieces like "Song Within a Song" and "Air Born" really stand out and are some of the highlights of the album. Finally, Ward's drumming and Ferguson's fairly simple but extremely effective bass playing provide a solid, tasteful rhythm section.

While some dislike the band's decision to bring back vocals (and I can agree that they are not the best out there), they are used sparingly enough that they are not a major detraction from the experience. In many cases I actually find that the music benefits from the singing, as the voice quality blends well with this style of music.

Moonmadness is an incredibly strong record filled with fantastic songwriting and musicianship throughout, and if you've enjoyed any of Camel's other work it's fair to assume you'll appreciate this album as well. Although there are a few flaws, they are small enough to not have any major impact on the quality of the album. Overall this is one of Camel's best albums and is a high point in progressive music.

Camel's fourth studio album and also, their last one with the original line-up. The sound of the album is slightly different if you compare it to their last album The Snow Goose. Moonmadness isn't as complex as its predecessor is even if this is a complete progressive rock album too. The album has a bit of a jazz fusion sound in some points as well.

All of the songs are more or less entertaining and you can't find any fillers here. The longer tracks like "Song within a Song", "Lunar Sea" and the single choice of the album "Another Night" represents the strongest material in here. But I have to mention the short "Spirit of the Water" as well since it's one of the most beautiful songs I've ever heard.

Four stars feels like an accurate rating for Moonmadness. Very solid collection of progressive rock music but still something is missing. Something that differs perfect albums from great albums. Moonmadness is a great album there's no doubt about that.

Out of all the albums Camel made I dare sau this being the weakest of them all. For me it lacks so much when it comes to memorability (if that word even exists). By that I mean there's no songs that sticks to your brain, like previous or coming efforts. Apart from "Ice", which actually is a favorite of mine in the Camel canon, no song really does it for me. If you're looking for a place to start you'd be better off skipping this one and go for one of the more classic albums like "Moonmadness" or "The Snow goose", albums that more clearly demonstrates the greatness of Camel. (If you're bold you could even go for "Stationary traveller" from 1984, a great but more synthesized album.)

This record was heavily advised by my brother and I don't know for sure he gave it to me or I bought it myself. What I do know is that this record enjoyed me a lot when I just got it and after that I almost never listened to it again. The times I did however didn't please me a lot.

I don't know exactly what I don't like about this record. There are some great time intervals and instrumental developments. I guess it's just the sound which does not seem to fit with me and the vocals are not my cup of tea. Still I see a great improvement from Camel's debut record and I have some respect for the musicianship here. Therefor a three star rating is the least I can give.